quête:e lan

In 1991, Chris Whitley made his debut with the beautiful album Living with the Law, which immediately showcased his brilliant songwriting and unique guitar playing. Blending blues, roots and folk, the debut was positively received by critics and aficionados of these more traditional genres. Growing up, Whitley listened to Southern radio, which played artists such as Muddy Waters, Howlin' Wolf, Bob Dylan and Jimi Hendrix. His career started by playing with artists like Arto Lindsay and Michael Beinhorn. Interestingly, Whitley lived in Belgium for a short time in the 1980s, where he started his career playing guitar for 2 Belgen and Nacht und Nebel. In the 1990s, he started his solo career at Kingsway Studio in New Orleans, owned by none other than Daniel Lanois. The result was an album characterized by the use of traditional instruments such as the slide guitar and banjo. All of this is accompanied by his splendidly timbred voice and honest lyrics exploring themes such as freedom, desire and human struggle. Sadly Chris Whitley passed away in 2005, but his influence on contemporary songwriters and blues artists remains strong. a_Living with the Law is available as a 35th anniversary edition of 1000 individually numbered copies on gold coloured vinyl and includes an insert.

Erstmals steht Yannick Nézet-Séguin beim Neujahrskonzert am Pult der Wiener Philharmoniker. Der Kanadier, schon seit Langem dem Orchester verbunden, ist Chef der Metropolitan Opera in New York und des Philadelphia Orchestra. Er bringt im Goldenen Saal des Wiener Musikvereins neben populären Titeln wie "Rosen aus dem Süden" oder der "Fledermaus-Quadrille" fünf Novitäten, die dort erstmals erklingen - darunter auch Kompositionen der US-Amerikanerin Florence Price (1887-1953) und von Josephine Weinlich (1848-1887), die das erste europäische Damenorchester gegründet hatte. Das Neujahrskonzert ist eines der größten Events der klassischen Musik; es wird in über 150 Länder übertragen und hat über 150 Millionen Zuschauerinnen und Zuschauer.

Das jährliche Neujahrskonzert in Wien ist seit mehr als acht Jahrzehnten, seit 1939, ein großes Ereignis, das im Fernsehen und im Radio übertragen wird und Millionen von Zuschauern in über 90 Ländern der Welt erreicht. Das Konzert wurde bisher von weltberühmten Dirigenten wie Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, Franz Welser-Möst, Gustavo Dudamel und anderen geleitet. Als musikalische Botschafter Österreichs senden die Wiener Philharmoniker den Menschen in aller Welt einen Neujahrsgruß im Geiste der Hoffnung, der Freundschaft und des Friedens mit beschwingter und unbeschwerter und zugleich nostalgischer und tiefgründiger Musik aus dem großen Repertoire der Familie von Johann Strauß und seiner Zeitgenossen.

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

On her debut LP 'Memoria', songwriter/producer Lilian Mikorey aka PILLBERT contemplates themes of identity and belonging, hardships and heartbreak in her signature blend of bendy folk guitars, field recordings and intimate vocals.
Moving to London from Munich, not yet 20 years old, Mikorey realized she was leaving her home behind for good. The subsequent state of being lost and alone in a place too temporary to start building the foundation for a new one led her to question the concept of home itself.
Is it friends? Family? A house?
"I started collecting objects, bones, sticks, stones and kept them close", she says, as to create a cosmos traveling with her.
"I was tracing the actual feeling of being home to the point where I built a dreamhouse in my head, as an idea, just to evoke that feeling." Soon enough she would learn that yielding to the yearning of actually going to that house, must be an inevitably sad experience.
A photo she took on a family visit to East-Munich became a reference and starting point for Memoria. It was a small house in her neighbourhood, the windows lit as dusk sets in. To Mikorey, it looked haunting, radiating warmth but somehow looking abandoned at the some time.
"I wanted to make music that sounds like this photo"
She started recording the sounds of the objects she had gathered and of her surroundings, building an archive and sonic material to work with.
From her mid-teens she had learned to produce with Ableton and now she picked up the guitar, too, learning it autodidactically by playing around, creating sounds.
At some point in the process, she realized it's okay to be lost for a while and by enduring the feeling, there's room for something new to grow, far off from any general idea of what home should mean.

The album, over the course of 10 tracks, traces these three phases of building a home in your head, realizing it's not a remedy, nor forever and coming to terms with it. You've grown in the process and the album is a guiding light for everyone who strives to do so, too.

Having taken their name from a line in Hooray For Hollywood – inspired by the song’s jarring use in Robert Altman’s Philip Marlowe detective movie The Long Goodbye – there is an aptly cinematic quality to Any Young Mechanic’s music.
With intricate scenes, enthralling narratives and unique characters cropping up across the lyrics, and a kaleidoscopic yet coherently interwoven spectrum of moods and emotions stretching through the music, the Adelaide five-piece bring a fresh language to folk music’s natural propensity to spin a good yarn.
So rather than offering borrowed references illuminated by the cosy flickers of campfire flames, on their debut album The Modern Shoe Is Ruining The Foot, the Australian band’s urgent songs conjure up vivid, widescreen vistas that blend the genre’s enduring charms with a musical dexterity and sharp vision reaching beyond folk’s usual corners.
“We are trying to make folk music for now,” suggests frontman Sam Wilson. “Turning it on its head in a new, sometimes uncanny way, because we don't want to just do the old thing again. I don't think it’s interesting to make things again, so we’re searching for a contemporary edge.”
The roots of this original yet inclusive approach, in part, go back to the Adelaide music scene that helped to forge Any Young Mechanic.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his debut from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on overcoming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.

Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re player, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.

All this brash, wry Redman-inspired storytelling continues on the new project. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rapper say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

This release resurrects a long-lost cornerstone of Seattle's early grunge history, showcasing Bundle of Hiss, featuring future Mudhoney and TAD guys and singer Jamie lane, one of the genre's missing links. Between 1986 and 1988, when Seattle was still a circuit of small clubs, four-track tapes and bands sharing drummers and singers, Jack Endino went in to record one of the most solid - and most unfairly invisible - outfits of that scene: BUNDLE OF HISS. Two sessions (1986 at Reciprocal and 1987/88 at Audio Design) fell into limbo, stored in the basement of Mudhoney-Drummer Dan Peters and for years they were a kind of pre-grunge legend, everyone knew they existed, but there was no record, until Loveless Records from NYC released both on CD. The second one, Audio Design Sessions, now sees the light of vinyl for the first time, just as it should have come out in the late '80s: a basement document turned into a collectible artifact. For those who want real grunge, not the domesticated version. It gathers the core of those 1987-1988 recordings done by Endino: the moment when the band is tighter, darker and closer to what the press would later call the "Seattle sound": minor-key melodies, thick fuzz, vocals on the edge, and that mix of hard rock, punk and Sabbath-like heaviness we'd later hear in Mudhoney, TAD or early Soundgarden. And Jack Endino himself summed up these sessions: "Vintage Seattle grunge from one of the original practitioners_ I always felt sad that this hard-working band never managed to get a record out and was almost lost to history. It was a pleasure -and a technical pain!- to resurrect all this." Kinda key release of the early grunge days, first-generation material, recorded by the scene's producer, at the exact moment Seattle was shifting from noisy punk to that heavy, shadowy rock that later blew up. It sounds raw, young and dangerous: this is not a polished compilation, it's a snapshot of the scene.

This remastered vinyl reissue of Blind Ear reintroduces The Celibate Rifles' urgent, socially aware punk-rock energy, cementing its place as a cornerstone of Australian alternative rock. 1989 is where The Celibate Rifles take their punk instincts to the next level-garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney ten years ago, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter-"Sean O'Farrell" and "Belfast"-tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

Barry Walker Jr. is a pedal steel player and guitarist whose roots in Americana, Country and Folk traditions influence his melding of minimalism, ambient and spiritual music. The Portland-based instrumentalist is also a member of the Rose City Band, known for his gorgeous phrasing and deft interplay with guitarist Ripley Johnson. On Paleo Sol, Walker demonstrates his singular voice as a pedal steel player and composer. Evoking the American western ranges and basins, the album embodies a longer, geologic view of time that patiently marvels at the ripples of change throughout lifetimes and ages. Walker is joined on Paleo Sol by drummer Rob Smith (Rhytion, Pigeons) and bassist and Mouth Painter bandmate Jason Willmon (Fruited Planes). Paleo Sol"s tranquil landscapes glide, built on warm finger-picked guitar figures and pedal steel swells coupled with deft percussion and bass touches by Smith and Willmon respectively. The trio plays with exceptional fluidity either completing each others phrasing or working together to build momentum. Smith notes: "The drums are not keeping time as much as evidencing its elasticity, mixing into the other instruments, changing phase states." Every gesture on the album is rich with intention, moving with grace and playing with timbre and time.

Earl Morgan and Barry Llewellyn joined by Naggo Morris in 1978, with the genius engineer Sylvan Morris and the mighty Niney the Observer at the controls, and a crack band featuring Sly Dunbar. Every Day Life and Mr. Do Over Man Song are crucial, tip-top Heptones.

"Brooklyn-based pianist Eva Novoa returns with The Freedom Suite: Novoa / Carter / Mela Trio, Vol. 2 — the second radiant release from her compelling trio with saxophone icon Daniel Carter and celebrated drummer Francisco Mela. This marks Novoa’s sixth album with 577 Records. The trio first came together live in 2021, followed by a series of performances, including appearances in Cambridge (Boston) and later at the Brooklyn edition of the NY Forward Festival.
"The Freedom Suite is an homage to jazz titan Duke Ellington — particularly his masterful big band suites and legendary orchestra featuring Johnny Hodges and other luminaries who helped define an era of jazz greatness. In contrast, Novoa presents her Suite in a more intimate format: the piano trio. The album comprises twelve pieces — mostly brief — with a few extended tracks such as Free to Be Free and Cyborgs.
"For this recording, Novoa also steps in as a vocalist on several tracks, including Mainstream Media, Big Grande, Global, Free to Be Free, Dream, and Cyborgs. These pieces often feature a vocal dialogue between Novoa and Mela, whose expressive, word-infused style draws from rich Cuban traditions.
'Words are powerful,' says Novoa. 'They define who we are, where we come from, and who we hope to become. Without words, there is no conversation — and without conversation, there is no real sense of time, space, or connection.'
The Freedom Suite emerged from deep philosophical and creative conversations — spoken, written, and improvised — between Novoa, Carter, and Mela. In the studio, Novoa introduced printed texts that served as thematic foundations for spontaneous, in-the-moment musical interpretation. The result is an urgent and organic interplay, where instruments speak to one another in a language as fluid as it is fearless.
"Standout track Cyborgs begins with Novoa’s percussive piano, exemplifying the trio’s dynamic, conversational energy. Creative Destruction features Novoa on electric harpsichord in a wild, electric exchange. While Free to Be Free stands out as the album’s leading single, it also captures the essence and message of the entire Suite.
"Recorded in 2021 at New York City’s legendary Sear Sound Studio, the album captures a creative explosion of sound and spirit. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs — even whistle — showcasing her expansive sonic palette. Together, the trio embodies the power of free improvisation and emotional storytelling.
"Originally from Barcelona, Spain, Eva Novoa has been cultivating her distinctive voice since childhood. Now a staple of the New York creative music scene, she has performed across the globe and collaborated with some of the most adventurous voices in jazz and beyond."

20 page book with gold foiled cover, featuring photographs from 1960s in and around Sunderland.

Romeo’s Fall is an original score for voice by artist and composer EXLRUTH (Ruth Hughes), a new work traversing romance and romanticism in a post-industrial North East England. Performed by countertenor Nik Rawlings with accompanying double bass from Caius Williams.

Informed by congregation, community and euphoria, exploring the meeting points of contemporary dance music cultures, traditional hymnal form, and the sonic appropriation and influence of regional industry, influenced by the legacy of the New Monkey. Addressing alternative trajectories of communion; on dancefloors (Makina) versus the nuclear act of togetherness within an industrial Northern landscape (classical/hymnal form).

This book features images taken from recently developed family super8, taken in and around Sunderland - 1960's onwards.

About DJ Yoke..

Born in the small city of Aveiro, Portugal, DJ Yoke (Gabriel Casal) is a hip hop DJ and producer with over two decades of experience shaping the underground scene. In 2011, he was awarded Hip Hop Band of the Year in Portugal and crowned champion of the DMC Battle Supremacy, alongside multiple finalist appearances in the same competition.

Known for blending raw hip hop beats with broken beat and groove-driven textures, DJ Yoke has built a solid independent catalogue, including three solo albums and three beat tapes released independently.

In 2025, he unveils Yoke Fora de Órbita, a landmark release that represents a more mature and refined stage of his artistic journey. The album marks his first physical release, available on vinyl and cassette, and reflects the strong influence of his recent years based in London.

Conceived to be performed both as a live act with musicians and as a DJ set, Yoke Fora de Órbita expands Yoke’s sonic universe beyond the traditional DJ format. Live performances with musicians are scheduled for London, Lisbon, and other European cities.

No longer just a DJ, DJ Yoke continues to redefine his role as an artist — while keeping the turntable as his core instrument.

White double vinyl

High Roller Records, weiße Doppel-Vinyl, limitiert auf 200 Stück, 425 g/m² schwerer Kartonumschlag mit 5 mm Rücken, 4-seitiges Insert, Download-Code

Mit ihrem dritten Album „Exequiae“ (lat. „Totenfeier“) setzen Lone Wanderer aus Freiburg im Breisgau ein eindrucksvolles Zeichen in Sachen Funeral Doom. Das High-Roller-Debüt der Band führt die inhaltliche Linie seines Vorgängers „The Faustian Winter“ fort - vom Ende der faustischen Kultur hin zu innerer Trauer und existenzieller Verzweiflung.

Die Stücke - darunter der fast 25-minütige Schlüsselsong ‚To Rest Eternally‘ - verbinden erhabene Langsamkeit, dichte Harmonien und erdrückende Schwere

Das Artwork stammt getreu der Tradition des Quartetts von einem Maler der deutschen Romantik: Ernst Ferdinand Oehme, dessen „Prozession im Nebel“ die Grabesstille des Albums einfängt.

Una interpretación de Soinuarenbidea II debería partir de esta premisa: todo es posible, nada es aleatorio, y en sí mismo es un imposible de aleatoriedades. El escenario planteado explora la idea de realidad aumentada desde una percepción sonora, ambiental y colectiva. La obra transita hacia adelante y hacia atrás recreando experiencias extintas de porvenir incierto, tratando de facilitar un fin pacificador. Cada pieza sonora se crea, se despliega, se repliega y se destruye, en una torsión permanente de toda la realidad que hace posible cada fragmento musical, cada identidad acústica, cada espacio sonoro. Lo onírico, la ficción, y el viaje están continuamente presentes, y es en el transitar de cada fragmento donde se produce el diálogo de la exposición musical. Los elementos de esta ficción se recrean continuamente, en un continuum donde se entrelazan y se van contorsionando a medida que crecen o decrecen con cada fragmento de síntesis concreta. Los temas explícitamente musicales son el magma que conduce a dar voluptuosidad al disco, siendo la piel un contexto o límite que en sí mismo fluctúa indefinidamente en texturas y configuraciones posibles. Y la urdimbre del silencio es la síntesis que está continuamente presente y que trata de cohesionar los fragmentos en continua colisión expresiva. Las grabaciones de campo proporcionan el material sonoro concreto, y como un fractal sonoro cada una de ellas ofrece diferentes grados de interpretación que a su vez conduce a nuevos fragmentos y nuevas creaciones. Así que se puede pensar que esta es una síntesis de una posible realidad, pero interpretable en infinidad de maneras. Un movimiento y una estaticidad implícitas que generan estructuras y dinámicas acústicas. Lo que se escucha no es real, pero en sí mismo forma parte de la realidad, creando un escenario expectante. Lo cinematográfico, plástico y teatral, danzante y dinámico cobra importancia en este juego, porque se trata de contar una historia, una experiencia recreada desde los puntos de vista del arte visual. Es a su vez hilo conductor y entretenimiento, discurso político y puro divertimento. Es desde este espacio de convivencia artística que tiene sentido la totalidad y justifica el formato sonoro planteado. La contradicción de la obra es patente en el formato, y es a su vez el planteamiento de una accidentalidad en el devenir vital. Contenedor de Ruido recoge todas estas contradicciones y las manifiesta en la obra Soinuarenbidea II. Es una historia sonora, es un cuento acústico. Es un fragmento de vitalidad en imágenes audibles. Es una invitación a la reflexión, a la crítica, al disfrute, a la meditación, a la celebración. Y sobre todo es esperanzadora apreciación de la realidad como algo maleable que confeccionamos colectivamente, que requiere de una paciente observación y la participación colectiva global, en un mundo finito pleno de diversidades y del que ignoramos prácticamente todo, al que deberíamos volver con respeto y devoción.

Soinuarenbidea II-ren interpretazio batek premisa honetatik abiatu beharko luke: dena da posible, ezer ez da ausazkoa, eta, berez, ausazkotasun ezinezko bat da. Planteatutako agertokiak errealitate areagotuaren ideia aztertzen du, soinu-, ingurumen- eta talde-pertzepzio batetik abiatuta. Lanak aurrera eta atzera egiten du, etorkizun zalantzagarriko esperientzia desagertuak birsortuz eta helburu baketsua lortzen saiatuz. Soinu-pieza bakoitza sortu, hedatu, tolestu eta suntsitu egiten da, musika-zati bakoitza, identitate akustiko bakoitza eta soinu-espazio bakoitza ahalbidetzen dituen errealitate osoaren etengabeko bihurdura batean. Onirikoa, fikzioa eta bidaia etengabe daude presente, eta pasarte bakoitzaren joan-etorrian gertatzen da musika-erakusketaren elkarrizketa. Fikzio honen elementuak etengabe birsortzen dira, continuum batean, non sintesi zati zehatz bakoitzarekin hazi edo txikitu ahala elkar lotzen eta bihurritzen diren. Esplizituki musikalak diren gaiak diskoari atsegintasuna ematera eramaten duen magma dira, azala testuingurua edo muga izanik, testura eta konfigurazio posibleetan mugarik gabe aldatzen dena. Eta isiltasunaren irazkia etengabe presente dagoen sintesia da, zatiak etengabeko adierazpen-talkan kohesionatzen saiatzen dena. Landa-grabazioek soinu-material zehatza ematen dute, eta soinu-fraktal batek bezala, horietako bakoitzak interpretazio-maila desberdinak eskaintzen ditu, eta horrek, aldi berean, zati eta sorkuntza berrietara eramaten du. Beraz, pentsa daiteke errealitate posible baten sintesia dela, baina hamaika modutan interpreta daitekeena. Egitura eta dinamika akustikoak sortzen dituzten mugimendu eta estatikotasun inplizitu bat. Entzuten dena ez da erreala, baina, berez, errealitatearen parte da, eta agertoki espektakularra sortzen du. Zinematografikoak, plastikoak eta antzerkikoak, dantzariak eta dinamikoak garrantzia hartzen dute joko honetan, ikusizko artearen ikuspegitik birsortutako istorio bat, esperientzia bat, kontatzea baita helburua. Aldi berean, hari gidaria eta entretenimendua da, diskurtso politikoa eta dibertimendu hutsa. Elkarbizitzarako espazio artistiko honetatik osotasunak zentzua du eta planteatutako soinu-formatua justifikatzen du. Obraren kontraesana nabarmena da formatuan, eta, aldi berean, bizi-bilakaeran istripu-tasa bat planteatzea da. Zarata-edukiontziak kontraesan horiek guztiak jasotzen ditu eta Soinuarenbidea II obran adierazten ditu. Soinu istorio bat da, ipuin akustiko bat. Bizitasun zati bat da, irudi entzungarrietan. Hausnarketarako, kritikarako, gozamenerako, meditaziorako eta ospakizunerako gonbidapena da. Eta, batez ere, itxaropentsua da errealitatea modu kolektiboan egiten dugun gauza xaflakor gisa hautematea, behaketa pazientea eta partaidetza kolektibo globala eskatzen dituena, dibertsitatez betetako mundu mugatu batean, ia guztia kontuan hartzen ez duguna, eta errespetuz eta debozioz itzuli beharko genukeena.

An interpretation of Soinuarenbidea II should start from this premise: everything is possible, nothing is random, and in itself is an impossible randomness. The proposed scenario explores the idea of ​​augmented reality from a sonic, environmental, and collective perception. The work moves back and forth, recreating extinct experiences of an uncertain future, seeking to facilitate a peaceful end. Each sound piece is created, unfolds, retreats, and is destroyed, in a permanent twisting of all reality that makes each musical fragment, each acoustic identity, each sonic space possible. The dreamlike, the fictional, and the journey are continually present, and it is in the transit of each fragment that the dialogue of the musical exposition takes place. The elements of this fiction are continually recreated, in a continuum where they intertwine and contort as they grow or diminish with each fragment of concrete synthesis. The explicitly musical themes are the magma that leads to the work's voluptuousness, the skin being a context or boundary that in itself fluctuates indefinitely in possible textures and configurations. And the warp of silence is the synthesis that is continually present and seeks to unite the fragments in a continuous expressive collision. The field recordings provide the concrete sound material, and like a sonic fractal, each one offers different degrees of interpretation that in turn lead to new fragments and new creations. So one can think of this as a synthesis of a possible reality, but interpretable in an infinite number of ways. An implicit movement and staticity that generate acoustic structures and dynamics. What is heard is not real, but in itself is part of reality, creating an expectant scenario. The cinematic, plastic and theatrical, dance and dynamic aspects take on importance in this game, because it is about telling a story, an experience recreated from the perspective of visual art. It is at once a common thread and entertainment, political discourse and pure entertainment. It is from this space of artistic coexistence that the whole makes sense and justifies the proposed sound format. The contradiction of the work is evident in its format, and it is, in turn, the presentation of an accidentality in the course of life. Noise Container gathers all these contradictions and manifests them in the work Soinuarenbidea II. It is a sound story, an acoustic tale. It is a fragment of vitality in audible images. It is an invitation to reflection, to critique, to enjoyment, to meditation, to celebration. And above all, it is a hopeful appreciation of reality as something malleable that we collectively craft, requiring patient observation and global collective participation, in a finite world full of diversity and of which we know practically nothing, to which we should return with respect and devotion.

Paisajes sonoros, diseño sonoro, drones y música grabada, realizada y arreglada para Contenedor de Ruido por David Aranaz. Coro: Basandere Ahotsak. Producido y mezclado por David Aranaz. Mástering: Estanis Elorza. Fotografía: David Aranaz. Texto: David Aranaz. Traducción: Saioa Aranaz Oreja. Trabajo y Diseño artístico: Cristina Martinez. Edición: Contenedor de Ruido Producciones y Sarbide Music. Distribución: Contenedor de Ruido.

Contenedor de Ruido agradece el apoyo en la realización de Soinuarenbidea II al coro Basandere Ahotsak y en especial a Eva Orbara Goicoa.

Soinuarenbidea II está dedicado al pueblo palestino.

Paisajes y objetos Sonoros, samplers y otras músicas transformadas para Soinuarenbidea II
Burlada: Paseos sonoros matinales por Merindad de Sangüesa, Calle Mayor, Capuchinas, Parque Uranga y varias iglesias y plazas. Pasajes del cotidiano: basura de papel, cristal y plástico.
Pamplona: Cementerio de San José. CEIP Sanduzelai /// Quinto Real: Fábrica de Armas, Puerto de Urkiaga y alrededores. Suite del silencio, bosques en movimiento /// Fábrica de armas de Orbaiceta: regatas, biosques, paseo sonoro hasta regata /// Belate: Puerto de Belate y alrededores. Vacas en pradera junto a las turberas /// Bardenas Reales: Suite de guitarra y Suite del silencio, estepa desértica /// Austria: Tranvías de Graz y Viena. Muchedumbre del metro de Viena.
Voces cinematográficas de: Matanza en Texas, Robocop, Espíritu Sagrado, Solo los Amantes Sobreviven, Voces de Gaza, Yojimbo, Terciopelo Azul, Los 7 Magníficos.
La pista A2 está dedicada a la memoria de David Lynch.
La pista B4 está dedicada a Eva Orbara Goicoa.
Pista A4: Contiene interpretaciones de piano de Three Piano Pieces Op.11 de Arnold Schoenberg.
Pista A5: Es una interpretación expandida con síntesis FM del Concerto Op. 24 - Etwas lebhaft - de Anton Webern.
Pista A7: Contiene la canción Besarkatu ninduzun (Letra de Josune López y música de Josu Elberdin) en interpretación de Basandere Ahotsak en la iglesia de Burutain bajo la tormenta.
Pista B2: Contiene la canción Recuerdos de la Alhambra (Fernando Tárrega) en interpretación torsionada de David Aranaz Sarasa.
Pista B14: Contiene la canción Agur María (Letra y Música de Estíbaliz Robles “Estitxu” y arreglo exclusivo de Alfonso Ortiz para Basandere Ahotsak) en interpretación de Basandere Ahotsak.

Equipamiento para Soinuarenbidea II.
Micros de condensador SE7, configuración XY y ORTF; Micros de cinta ORTIZ LUTHIER configuración XY y Blumlein; Grabadoras MARANTZ y ZOOM; Sintetizadores y samplers Elektron MONOMACHINE SPS-1, MACHINEDRUM SFX6 y MODEL:SAMPLES. Dave Smith MOPHO. Torso Electronics S-4. Sintetizador Modular 333 DIY; Guitarra clásica ALHAMBRA 6P; Esculturas Sonoras tipo Baschet, cristal y metales; Mesa Soundcraft FX16ii; Interface de Audio RME Babyface Pro FS; DAW Logic Pro; Procesamiento de modelado analógico con Acústica Audio, Waves, Softube, Brainworx, Sonible, Analog Obsesion, Tokio Dawn. Metering de Logic y RME DigiCheck . Amplificación Hafler PRO2400. Monitorización BW DM602 S3. Mezcla digital; Mastering híbrido.

'In 2023, sound artist and composer Weston Olencki toured across the American South. Beginning in their hometown in South Carolina, they snaked a circuitous path from the mountains of West Virginia to the banks of the Mississippi River. As the miles accumulated, so did the initial seeds of new work.
'Instruments and artifacts they acquired hitched a ride in the backseat, while songs and sounds filled their portable recorder: water in its various states, the familiar insectoid buzz of those summer nights, trains cutting through the landscape, the traditional music that lived alongside the communities that kept it. Olencki took it all in, and over time, found ways that these experiences coalesced into a bramble-like perspective of time, where past, present, and future intersect in ways both barbed and beautiful.
'Broadsides, Olencki’s newest solo full-length is the multilayered result of this journey. The album follows their landmark release Old Time Music from 2022, which presented radical interpretations of traditional tunes from Appalachia and throughout the South alongside original compositions that drew significantly on archival recordings. On Broadsides, Olencki rejects delineations between the unmoored avant-garde and the rootedness of one’s cultural heritage, revealing their porous and intertwined nature. “My mother was a quilter. Her mother before that,” they write in the album’s liner notes. “Quilting, like music, is a practice of embedding knowledge and remembrance into the very core of the thing you are making. It’s not just about the materials, but how they’re reassembled, recontextualized, stitched, woven to form new patterns - the minutiae of craft holding significance to those looking to find it. Stories woven from stories, never told the same way twice.”
'Like all great road trips, Broadsides unfolds slowly and continuously, with moments of dramatic reverie punctuating the endless melt of highway in the rearview. We’re immediately confronted by the uncanniness of revisiting old haunts, as Southern storms break through the initial churn of the freight locomotives of Alabama. Olencki’s interpretation of the bluegrass standard “Foggy Mountain Breakdown” captures the euphoria of melancholy in motion. The permutational plucks of banjo are bounced around the frame by a computer, its pitches determined within algorithmic sequences and transcriptions of classic three-finger licks. The tonalities of old-time are smeared and stretched until all that’s audible is the insistence that Heaven might be real.
'In the album’s second half, “Omie Wise,” a murder ballad made famous by Doc Watson, follows an interlude recorded on the river in North Carolina in which the titular character’s body was laid. Ghostly echoes of a dozen other renditions float through the substrata as Tongue Depressor’s Henry Birdsey accompanies them on the pedal steel guitar. The album’s central composition, “all my father’s clocks,” is a profound meditation on entropy and impermanence. The sound of their father’s extensive clock collection ticks away as Olencki pulls a bow across the length of an autoharp sourced from a rural strip mall. The instrument was left as detuned as it was found, the resonance of its deep bass drone and clanging high-end the result of years of neglect and the warping effects of Southern humidity.
'Historically, broadsides were an early form of broadcasting, an often- musicalized telling of current news pasted in the public square. The name was later taken up by Sis Cunningham and Gordon Friesen in the 1960s, whose Broadside magazine published songs and social commentary when American folk music resurfaced as an urgent way of communicating the multifaceted politics of its time.
'Olencki borrows the phrase to recall both this old form of songmaking and that later prominent reexamination of traditional music’s role in modern life, but also to draw attention to the fragmented and machine- mediated way heritage is diffused in this very different, but no less pivotal, moment.
'As a sanitized past is used as justification for current violence and domination, we can turn to these artifacts to better understand the history of ourselves, but only if they are consciously pushed to evolve. Broadsides represents one personal, striking vision of what far-flung futurisms could be respun from = these high, lonesome sounds: a reflection of the unbridled joy and deep sorrow inherent to living together through time, and a desire to push further into the untold and unknown.'

Moanin’ in the Moonlight, Wolfs erstes Langspielalbum aus dem Jahr 1958, versammelte ein Dutzend
Singles, die er im Laufe des vorangegangenen Jahrzehnts aufgenommen hatte, darunter die Favoriten
„Smokestack Lightnin’“, „Evil“ und „How Many More Years“.
Holen Sie sich den Sound des größten Blues-Labels Amerikas in High Fidelity mit der Chess Records 75th
Anniversary Series nach Hause. Diese audiophilen Neuauflagen klassischer Alben und Compilations aus der
Chess-Diskografie wurden von den originalen Analogbändern remastert und bei Quality Record Pressings
(QRP) auf 180-Gramm-Vinyl gepresst. Jede Platte ist in einer Tip-On-Gatefold-Hülle aus hochwertigem
Karton verpackt.







g 7 The Red Rooster [aka Little Red Rooster]







[g] 7 The Red Rooster [aka Little Red Rooster]

Half-Speed Remaster des 2012er Albums

Anlässlich des 40-jährigen Jubiläums des Albumklassikers "Thick As A Brick" erscheint am 30. März 2012 eine Fortsetzung zum Originalalbum mit dem Titel "Thick As A Brick 2".

1972 hatte Ian Anderson mit dem Jethro-Tull-Album "Thick As A Brick" einen Klassiker des Progressive Rock aufgenommen. Im Mittelpunkt der Songtexte stand die fiktive kindliche Hauptfigur Gerald Bostock. Das Album avancierte zum Spitzenreiter in den Billboard Charts und zu einem beachtlichen Erfolg in etlichen anderen Ländern.

Vierzig Jahre später: Was würde Gerald Bostock, der nun 50 Jahre alt wäre, heutzutage machen? Wie wäre es ihm in all der Zeit ergangen? Der "zweite" Teil des Albumklassikers zieht die unterschiedlichsten Möglichkeiten in Betracht, was aus dem frühreifen Schuljungen Gerald Bostock hätte werden können, welche Wege er hätte einschlagen können. In den diversen Songs nimmt die Hauptfigur verschiedene Alter Egos an, um die Vielzahl der möglichen Wendungen zu verdeutlichen, die Schicksal und Zufall in einem Leben bereit halten. So illustrieren die Songs nicht nur Geralds Leben, sondern auch die Entwicklungen unserer eigenen Biographien, die nicht selten durch zufällige Begegnungen und Eingriffe völlig neue Wendungen annehmen, auch wenn sie manchmal zunächst noch ganz nichtig und unbedeutend erscheinen.

Ian Anderson über sein neues Album: "Wenn unsere Generation auf ihr Leben zurückblickt, überkommt sie sicherlich gelegentlich dieser 'Was wäre wenn'-Moment. Wären wir, wie Gerald, statt dem, was wir sind, vielleicht Prediger, Soldat, Penner, Geschäftsinhaber oder Finanztycoon geworden? Und all jene, die der Generation des Internet und der sozialen Netzwerke angehören, mögen darüber sinnieren, was mit den unzähligen Möglichkeiten ist, die sich bei jeder Gelegenheit anzubieten scheinen."

Im Rahmen dieser Veröffentlichung wird Ian Anderson erstmals seit 1972 "Thick As A Brick" gemeinsam mit seinen Bandkollegen John O'Hara (Keyboards), David Goodier (Bass), Florian Opahle (Gitarre) und Scott Hammond (Schlagzeug) - sowie einigen musikalischen Gästen - in kompletter Länge live spielen. Zudem präsentieren Ian Anderson und seine Band im zweiten Teil der Show auch die Fortsetzung des Albumklassikers live.

Best known for his film and TV scores ( Dirty Harry, Enter The Dragon , Mission Impossible , The Eagle Has Landed , to name just a few) Lalo Schifrin (1932-2025) began as a jazz pianist who worked with some of the most important musicians of his day. The Insensatez session was cut during Schifrin's involvement in Dizzy Gillespie's band, which explains the participation of musicians from that aggregation. First issued as Piano, Strings & Bossa Nova in 1962 (produced by Creed Taylor), this album was reissued with one less title, as Insensatez on Verve in 1969. Featuring 12 Brazilianized themes and four Lalo Schifrin originals - 'The Wave', 'Rio After Dark', and 'Silvia' from Schifrin's movie score El Jefe, and 'Lalo's Bossa Nova' written for Quincy Jones' 1962 album Big Band Bossa Nova. Insensatez offers a rare insight to Schifrin's superb musicianship, not only as a composer, but also as a pianist



c 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]



[c] 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]

Ltd. Coke Bottle Green Vinyl

Die LP-Erstauflage kommt als Sub Pop Loser Edition auf Coke-Bottle-transparent-grünem Doppel-Vinyl im Klappcover mit speziellen Innenhüllen und mit Inlay. Die 14 Songs des Albums verteilen sich auf die ersten drei LP-Seiten, denn Seite 4 des Albums enthält ein Etching. Mit "Death Jokes" wendet sich der in New York City lebende Damon McMahon, zum ersten Mal seit der Gründung des Amen Dunes Projekts im Jahr 2006, mit seinen spirituellen Reflexionen und Meditationen von sich selbst ab und wendet sich direkt der Welt zu. Das Album ist auch musikalisch und thematisch eine drastische Wendung, verwurzelt in der elektronischen Musik der Raves und der Rap-Musik, mit der er aufgewachsen ist, von der er sich aber nie vorstellen konnte, dass er sie machen könnte. Durch Samples und Texte wirkt es wie ein vernichtendes elektronisches Essay über Amerikas Kultur der Gewalt, der Dominanz und des zerstörerischen Individualismus. Die Arbeit an "Death Jokes" begann nur wenige Wochen vor der ersten Nachricht von der Pandemie im Winter 2019; sie wurde drei Jahre später abgeschlossen. Die Bedeutung des Albums wandelte sich mit dem Fortschreiten der Pandemie, zunächst als Reflexion über unsere Verbundenheit mit der Form und mit uns selbst, dann als feierliche Anklage gegen die blinden Flecken unserer Kultur, wenn wir falsch urteilen und angreifen, wenn sich Egozentrik und Selbstgefälligkeit als Moral ausgeben. "Death Jokes" ist das erste Album von Amen Dunes seit "Freedom" aus dem Jahr 2018, das von Pitchfork als ein "bestes Album des Jahrzehnts" bezeichnet wurde.

"When The Wind Forgets Your Name" ist das erste neue Built to Spill -Album seit der Veröffentlichung von "Untethered Moon" aus dem Jahr 2015 und das achte Studioalbum dr langlebigen Band um Mastermind Doug Martsch. Es wurde von Martsch produziert, von Martsch, Lê Almeida, Joao Casaes und Josh Lewis gemischt und von Mell Dettmer gemastert. Das Cover Artwork wurde von dem Comiczeichner Alex Graham (Dog Biscuits; Fantagraphics Books) gestaltet, der auch den fünfzigteiligen Comicstrip für das Klappcover des Albums illustriert hat (erhältlich mit den CD-, LP- und MC-Ausgaben des Albums). Seit 1992 wollte Doug Martsch, Gründer von Built to Spill, dass seine geliebte Band ein gemeinschaftliches Projekt ist, eine sich ständig weiterentwickelnde Gruppe von unglaublichen Musikern, die gemeinsam Musik machen und live spielen. Nach mehreren Alben und EPs auf Independent-Labels stand Martsch von 1995 bis 2016 bei Warner Brothers unter Vertrag. In dieser Zeit nahmen er und seine wechselnden Mitstreiter sechs unbestreitbar großartige Alben auf - "Perfect From Now On", "Keep It Like A Secret", "Ancient Melodies Of The Future", "You In Reverse", "There Is No Enemy", "Untethered Moon". "When The Wind Forgets Your Name" setzt nun die Erweiterung des Built to Spill -Universums auf neue und aufregende Weise fort. Im Jahr 2018 brachten Martschs Glück und seine Intuition ihn mit dem brasilianischen Lo-Fi-Punk-Künstler und Produzenten Le Almeida und seinem langjährigen Mitstreiter Joao Casaes zusammen, beide von der psychedelischen Jazz-Rock-Band ORUA. Als Martsch ihre Musik entdeckte, verliebte er sich sofort in sie und bat sie bei Built to Spill mitzumachen, als er eine neue Begleitband für Auftritte in Brasilien brauchte. Die Auftritte in Brasilien liefen so gut, dass Martsch, Almeida und Casaes beschlossen, 2019 weiter zusammen zu spielen und durch die USA und Europa zu touren. Bei Soundchecks erlernten sie neue Songs, die Martsch geschrieben hatte, und als die Tournee zu Ende war, nahmen sie die Bass- und Schlagzeugspuren in seinem Proberaum in Boise auf. Nachdem sie nach Hause geflogen waren, begann Martsch selbst mit dem Overdubbing von Gitarren und Gesang. Das gemeinschaftliche Abmischen fand während der Pandemie übers Internet statt, in dem die Tracks hin und her geschickt wurden. Herausgekommen ist "When The Wind Forgets Your Name", eine komplexe und schlüssige Mischung aus den unterschiedlichen musikalischen Ideen der Künstler. Neben den poetischen Texten und Themen von Built to Spill sorgen die Experimente und die Liebe zum Detail für ein Album voller einzigartiger, lebendiger und zeitloser Klänge.

Limitierte Loser Edition, gepresst auf "Misty Kiwi Fruit Green" farbiges Vinyl. "When The Wind Forgets Your Name" ist das erste neue Built to Spill -Album seit der Veröffentlichung von "Untethered Moon" aus dem Jahr 2015 und das achte Studioalbum dr langlebigen Band um Mastermind Doug Martsch. Es wurde von Martsch produziert, von Martsch, Lê Almeida, Joao Casaes und Josh Lewis gemischt und von Mell Dettmer gemastert. Das Cover Artwork wurde von dem Comiczeichner Alex Graham (Dog Biscuits; Fantagraphics Books) gestaltet, der auch den fünfzigteiligen Comicstrip für das Klappcover des Albums illustriert hat (erhältlich mit den CD-, LP- und MC-Ausgaben des Albums). Seit 1992 wollte Doug Martsch, Gründer von Built to Spill, dass seine geliebte Band ein gemeinschaftliches Projekt ist, eine sich ständig weiterentwickelnde Gruppe von unglaublichen Musikern, die gemeinsam Musik machen und live spielen. Nach mehreren Alben und EPs auf Independent-Labels stand Martsch von 1995 bis 2016 bei Warner Brothers unter Vertrag. In dieser Zeit nahmen er und seine wechselnden Mitstreiter sechs unbestreitbar großartige Alben auf - "Perfect From Now On", "Keep It Like A Secret", "Ancient Melodies Of The Future", "You In Reverse", "There Is No Enemy", "Untethered Moon". "When The Wind Forgets Your Name" setzt nun die Erweiterung des Built to Spill -Universums auf neue und aufregende Weise fort. Im Jahr 2018 brachten Martschs Glück und seine Intuition ihn mit dem brasilianischen Lo-Fi-Punk-Künstler und Produzenten Le Almeida und seinem langjährigen Mitstreiter Joao Casaes zusammen, beide von der psychedelischen Jazz-Rock-Band ORUA. Als Martsch ihre Musik entdeckte, verliebte er sich sofort in sie und bat sie bei Built to Spill mitzumachen, als er eine neue Begleitband für Auftritte in Brasilien brauchte. Die Auftritte in Brasilien liefen so gut, dass Martsch, Almeida und Casaes beschlossen, 2019 weiter zusammen zu spielen und durch die USA und Europa zu touren. Bei Soundchecks erlernten sie neue Songs, die Martsch geschrieben hatte, und als die Tournee zu Ende war, nahmen sie die Bass- und Schlagzeugspuren in seinem Proberaum in Boise auf. Nachdem sie nach Hause geflogen waren, begann Martsch selbst mit dem Overdubbing von Gitarren und Gesang. Das gemeinschaftliche Abmischen fand während der Pandemie übers Internet statt, in dem die Tracks hin und her geschickt wurden. Herausgekommen ist "When The Wind Forgets Your Name", eine komplexe und schlüssige Mischung aus den unterschiedlichen musikalischen Ideen der Künstler. Neben den poetischen Texten und Themen von Built to Spill sorgen die Experimente und die Liebe zum Detail für ein Album voller einzigartiger, lebendiger und zeitloser Klänge.

Repress !

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom and funeral beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-gods-forbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album. artwork by Steven Stapleton released in co-production with Infinite Fog Prod.

After two decades in the experimental music scenes of New York and Western Massachusetts, Wednesday Knudsen might be known equally as a sought-after improv collaborator and the vocalist and guitarist for the beloved long-running psych band Pigeons or, more recently, as a member of the New England psych-folk ensemble Stella Kola. Though her forthcoming release, Atrium, is Knudsen’s fifth solo album, it is both her first solo work to appear on vinyl and a double LP, marking her rich recording history with a stunning masterwork. Channeling the “atmosphere of presence” alongside the legions of Éliane Radigue, Hiroshi Yoshimura, and Joanna Brouk, on Atrium, Knudsen plays it all—alto saxophone, flute, guitar, synth, piano, autoharp, bass guitar, and vocals. The collected compositions are studies in the tones, timbres, and pacing particular to the woodland environment of the Taconic Mountains where she lives. Atrium’s tracks are sculptural rather than ambient, with a release into the gorgeous hold of gravity that insists we don’t escape or drift away. This is music for remembering time. This is music that reinforces the power of art as resistance. The songs on Atrium distill our attention in a language that Knudsen calls “the opening of the heart,” reminding us that subsistence and community results from our own actions and engagement with our exterior. Atrium is a refuge, vital in our current moment and imbued with resonant power for our future.

Here, Flavien departs from his usual creative process to embrace collaboration—because plouf! (Léviathan) is also the story of a dive, his first collective adventure with musicians he had always dreamed of working with: Michelle Blades (guitar), Kiala Ogawa (keys), Akemi Fujimori (bass), Cédric Laban (drums), and Thibaud Merle (winds).



Reworking these songs is a way of revisiting forgotten musical landscapes, shedding new light on them with a different perspective. It’s about transforming a solitary electronic record into a collective piece by exploring new textures and instrumental approaches.



With this album, Flavien Berger uses his early tracks as raw material—as if the 2015 Léviathan were now a kind of demo from which to extract the essence and create something entirely new. The project, like the music that drives it, is rooted in the idea of reinvention.



The result is a fresh sonic exploration where Léviathan’s tracks take on new forms—some staying true to their original versions, others completely reimagined, blending past and present.

Since their formation, The Hirsch Effekt have carved out a unique niche in the German-speaking music scene. Yet, despite—or perhaps because of—their elusiveness, the band has captivated a devoted audience. Musically, The Hirsch Effekt have always embraced limitless possibilities. Acoustic, introspective moments—where bassist Ilja John Lappin brings out his cello or guitarist Nils Wittrock returns to his classical roots—sit naturally alongside massive progressive metal onslaughts. The band is equally at home on intimate club stages as they are at international festivals, evidenced by repeated appearances at Euroblast and numerous events across the UK. Recently, they toured Germany alongside scene giants like Leprous, Tesseract and traversed Europe with Caligula’s Horse. Yet between these extremes, The Hirsch Effekt continually create songs that flirt with radio accessibility—almost—because the band steadfastly resists any form of standardization. With their seventh album, Der Brauch, they continue this course uncompromisingly. While earlier works, despite their diversity, were still labeled “metal albums,” this new record explores paths first hinted at on the multilayered second album, Holon : Anamnesis—the same album that fans of VISIONS magazine voted the only German-language entry among the 20 best albums of all time. Der Brauch can be seen as a return to that pivotal point—and simultaneously as a bold step forward. Drummer Moritz Schmidt doesn’t entirely forgot blast beats, but the record demands a new heading. In the end, though, there is only one truth: it unmistakably sounds like The Hirsch Effekt.

Numero 6 returns with a brand-new EP landing on Planète 51

A project long awaited that’s been building momentum and curiosity for months. In this record you can expect some strong basslines, hypnotic grooves, and a pretty sick edit, ...

LWS returns to Parris and Call Super’s can you feel the sun imprint with All Of The Chaos. 4 mutant rollers in his
now-singular style, sharp constructions meticulously designed with club drama and devious rave energy.
A year on from Palloon, and Edinburgh’s LWS has certainly left his mark. His inner metronome ticks differently, ornate
club constructions snarling with hypnotic fervour. His music has been ubiquitous across clubs and festivals over the
past twelve months as a result, and on his second EP for can you feel the sun he proves there’s still plenty left in the
tank.

Opener Many Requests goes galactic, a wide-eyed entanglement of melody and rhythm that gallops tough yet supple
through an ever-shifting landscape; an inevitable deconstruction ensues, before the salivating return sets us back on
course. Gooly shifts darker, a looping roller with sultry swagger that deviously maintains its shuffling delirium with
uncanny nous. Sharkbait on the flip cultivates a jaw-gnawing tension, vibrantly edging towards that ecstatic release
with unrelenting ease. Closer All Of The Chaos goes weirdest, a chromatic safari swivelling on its mechanised 2 step
through a carousel of unhinged sound design to its conclusion; signing off on yet another collection of future-shock
missives from LWS.

Early DJ support from Call Super, Objekt, Pariah, Surusinghe, Ploy, OK WIlliams and Pangaea.

It’s been over 20 years since Kenny Dixon Jr., better known as Moodymann, released Black Mahogani—an album rich in atmosphere and emotion, offering a quintessential journey through deep house, soul, and jazz. Timeless yet modern, it’s an immersive and emotionally resonant experience that reflects the singular character of Detroit’s deep musical heritage.

Originally released in 2004, Black Mahogani is arguably one of Moodymann’s most revered and sought-after works. It completes the puzzle laid out by his rare and elusive KDJ 12” releases from the mid to late '90s. With the help of Detroit legends like the late Amp Fiddler, Roberta Sweed, and Norma Jean Bell, Dixon infused his analog soundscapes and samples with a new organic warmth—expanding the deep house genre while simultaneously paying homage to 1970s soul and cinematic soundtracks.

Dixon’s masterful control of tension—knowing exactly when to hold back and when to let go—makes Black Mahogani an enduring masterpiece. It's not just a landmark in electronic music, but a definitive statement in 21st-century Black American music.

Schneeweißes Vinyl. Zum ersten Mal seit seinem viralen Weihnachtsalbum ,A Joyful Sound", das 2020 rausgekommen ist, ist Kelly Finnigan (Monophonics) mit zwei neuen Original-Weihnachtsliedern zurück. ,I Can't Wait (For Christmas Time)" ist ein schwerer, aber entspannter Song mit einem geradlinigen Pop-Arrangement. Es ist dieser Rust-Belt-Soul-Sound mit den Harmonien, die südkalifornische Cruiser beflügeln: tief und emotional, mit genau der richtigen Instrumentierung, um Finnigans zarte Stimme in den Vordergrund zu rücken. Der Song wird auch von seiner Labelkollegin Kendra Morris und ihrer Band im Hintergrundgesang begleitet. Ähnlich wie frühere KF-Veröffentlichungen oder Perlen von The Escorts oder The Four Mints ist diese Platte für dich und deine Lieben gedacht, verpackt in hübsches Papier unter dem Baum bis zum Weihnachtsmorgen. Dann lass noch etwas Platz für Plätzchen und die B-Seite... ,Snowy Night In Ohio" fühlt sich an wie ein langsam fahrender Mitternachtszug, der sich von Cincinnati nach Memphis auf den Weg macht. Inspiriert von Finnigans erstem Winter in Ohio, seiner Liebe zu Gospelplatten und den Hornarrangements von Isaac Hayes. Dies ist ein wirklich herausragendes Instrumentalstück, das eiskalte Seele versprüht. Es enthält eine kurze Gesangsbotschaft von Finnigan, die sich wie ein Zeugnis und ein Herzensanliegen anfühlt. Mit dabei sind Terry Cole und Jimmy James von Colemine sowie Billy Aukstik und Morgan Price.

French house mainstay Franck Roger has been cooking up timeless, deep sounds for decades and right now he is in a superb run of form. Seasons Limited is where he lands next with more of his signature sounds. 'Exodus' opens with a fat, warped bassline and far-sighted chords that hark back to early Detroit. 'Sokette' is much more dusty and minimal, and again has echoes of artists like Omar-S from the Motor City. 'Push It' is a more elastic groove with some aching vocal hooks and diffuse chord work to make this perfect for the late-night sessions.

Mike Majkowski makes his debut on Hands in the Dark Records with Invisible, a selection of six moody and mysterious pieces produced between 2019 and 2025.

The prolific Australian double bassist and music maker has been involved in a diverse array of contemporary, improvised and experimental music since the early 2000s. This time, the Berlin-based artist is venturing deeper into downtempo, meditative and hypnotic minimal electronic realms.

While time and space are constraints, they also define our identities, creating inexplicable bonds with others flowing through shared moments and shared places. The state of being invisible obliterates these confines, allowing one to return to their pure essence. In this setting, Majkowski’s compositions display a discreet and profoundly emotional language characterised by vulnerability, darkness and confusion, while also embodying hope, soothing and resilience. A dim light, transcending love, space, memory and time.

“There's a clarity here that feels hard-won. Honing ideas first explored with his Organic Music series, Tiago Sousa unlocks the final puzzle pieces on Sustained Tones Vol 1. This music is enchanted, the way each layer moves in conjunction with the others: complex structures that feel less constructed than discovered, like stumbling upon ancient mechanisms still whirring beneath the earth. "Readily Reliance" opens as an effervescent sea, waves gilded in neon creating an enveloping sense of eternal motion. Bright organ timbres throw silhouettes and cast Sousa as the deft puppeteer keeping everything moving with an effortless precision. These evolving shapes suspend listeners somewhere between the physical and the cosmic, held in place by nothing but intention and sound.

Drones build rippling foundations in other places, using slower tempos to construct immersive, off-kilter sound worlds where minimalism becomes emotive, almost poignant. The fluctuating tones have a gossamer sheen, creating this interesting sonic dichotomy: a solid surface with fragile rotations beneath. It's music that commands attention; it is so much more than simply aural furniture. Sousa writes these beautiful sequences that are all interconnected, intricate sonic architecture that pulls us further into some kind of unknowable ether.

On the piano pieces, "Smooth Flow Into It" and "Swirling Mist and Thin Dust," Sousa shines sunlight through all the cracks. Washes of melody are effervescent, clouds clearing to reveal the day has not gone. Not yet. Positioned in the middle of Sustained Tones Vol 1, these pieces ground the album in something transcendent yet still earthen: moments of breath inside all that cosmic drift. Darkness finds its way through on "Restlessness," where Sousa smears sinuous electronics into a ghostly sonic mesh that seeps through the skin. It feels like a slow inhale, time suspended long enough to take note of where we are and how we feel before moving forward. Expressive, almost sparkling synth arrangements return to send us back into reality on closer "Becoming a Landscape." Its title hints at larger concepts at play throughout this album, where lines between our physical beings and the wider environment are blurred. The tones that echo throughout these six pieces mirror the echoes inside our bodies, from heartbeats and voices to something quieter, something much smaller and more elemental. By immersing us inside these mesmerising, beautiful soundscapes, Sousa immerses us within ourselves.’’

Brad Rose, 2025

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

"Eau" is the lovely new album from aus, the solo project of Tokyo-born composer and producer Yasuhiko Fukuzono, who has gained attention, in Japan and overseas, for his thoughtfully paced and sensitively skillful music as well as his intriguing sound design for exhibitions and experimental cinema. Having worked primarily with keyboards and electronic sound up to this point, "Eau" is a slight yet fascinating shift for aus; the album, while still primarily an electronic work, revolves around the sonic world of a stringed acoustic sound source, the koto, that most characteristically Japanese of musical instruments. The very accomplished Eden Okuno provides the delicate-yet-rich koto sounds on offer here; Fukuzono, in the liner notes, acknowledges the importance of Okuno's artistry to the project.

The compositions on the album are designed to balance the sound of the koto, with its subtly variable attack and flickering resonance, with the timbre of other instruments. The delicate decay and metrical flexibility of the koto is enveloped by sustained synthesizer sounds and contrapuntally constructed piano melodies, creating a flowing ambience with absorbing undercurrents, a languid and liquid quality that reveals the suitability of the title.

Avid fans of contemporary Japanese music might hear the influence of pioneering works such as the the 1979 Hiroshi Yoshimura composition "Clouds for Alma", realized by koto player Tadao Sawai, and the 1993 album "Koto Vortex I: Works by Hiroshi Yoshimura" which featured performances of Yoshimura's works by the Japanese koto quartet Koto Vortex. These works attempted to remove the koto from its traditional context and place it within the context of ambient and techno. "Eau" is available on CD/LP/cassette/digital, with E/J liner notes by aus. "Eau" is the first collaborative release by EM Records and FLAU, the label run by Yasuhiko Fukuzono (aus).

Mit Calling melden sich The Busters eindrucksvoll zurück - neun Musiker, ein Album, das kollektive Kreativität hörbar macht. Entstanden in zwei Studios - den atmosphärischen Waldstudios bei Berlin und "Der Raum" in Waltrop - verbindet Calling emotionale Tiefe mit musikalischer Klarheit und der typischen Leichtigkeit der Band. Die Songs entstehen basisdemokratisch, ohne Hierarchie - aus Vertrauen, Präzision und Spielfreude. Das Ergebnis: ein Album voller Dynamik, Wärme und Atmosphäre. Man hört den Raum, die Luft, das Miteinander. Statt digitaler Perfektion steht das Gefühl im Vordergrund. Highlights wie der Titeltrack "Calling", das melancholisch-leichte "Champagne", das bissige "Freak Show" oder das hoffnungsvolle "Geschichte schreiben" zeigen die Band in ihrer ganzen Bandbreite - nachdenklich, ironisch, berührend. Live entfaltet sich die volle Kraft: The Busters gehören seit über 35 Jahren zu den besten Live-Bands Deutschlands. Calling fängt diese Energie ein - als klingendes Abbild einer Band, die weiß, wer sie ist, und trotzdem immer wieder neu aufbricht. With Calling, The Busters make a powerful return - nine musicians, one shared language, and an album that showcases the vibrancy of collective creativity. Recorded between two studios - the atmospheric Waldstudios near Berlin and "Der Raum" in Waltrop - Calling blends emotional depth with musical clarity and the band"s signature ease. No mastermind, no hierarchy - just a democratic process built on trust, precision, and joy. The result is an album rich in dynamics, warmth, and atmosphere. You hear the room, the air, the connection. Feeling takes precedence over digital perfection. Tracks like the floating opener "Calling," the subtly melancholic "Champagne," the biting "Freak Show," and the uplifting "Geschichte schreiben" reveal the band"s full emotional range - thoughtful, ironic, and deeply human. On stage, The Busters truly shine: with over 35 years of live experience, they are one of Germany"s most seasoned and beloved live acts. Calling captures that energy - a sonic reflection of a band that knows who they are, yet continues to explore new paths.

Black Vinyl

Das Album enthält Material aus allen Songwriting-Phasen der Band, einiges davon stammt aus den Zeiten von „Deprived“ und „Bringer of Drought“ sowie natürlich aus „Foreordained“, erklärt Gitarrist Samuel Dufour.

„Gateway“ wurde von dem langjährigen Mitarbeiter Xavier Berthiaume (Gevurah, Sanctvs) während derselben Session wie „Foreordained“ aufgenommen, gemischt und gemastert, wodurch die beiden Alben einen einheitlichen Klang erhalten und „Gateway“ die etablierten Erzählungen abschließen kann. „Wir betrachten es als das Ende eines Kapitels für die Band“, fährt Dufour fort. „Das heißt nicht, dass unser zukünftiges Material sich komplett von unserem bisherigen unterscheiden wird, ganz im Gegenteil, aber wir haben beschlossen, es beim nächsten Mal ein wenig anders anzugehen, indem wir neue Elemente hinzufügen, die bisher in unserer Musik noch nicht vorkamen, verschiedene Dynamiken ausprobieren und mit einer neuen Stimmung experimentieren.

Thematisch baut „Gateway“ auf Ideen auf, die erstmals auf „Foreordained“ untersucht wurden: „Der Song ‚Revival‘ aus ‚Foreordained‘ inspirierte das Thema des Albums, nämlich die Tatsache, dass Menschen seit Anbeginn der Zeit versuchen, ewig zu leben – oder ihr Leben auf unnatürliche Weise zu verlängern –, oft aus Gründen, die noch absurder sind als das Streben nach ewigem Leben selbst“, erläutert Dufour.

„Wir haben dies als Hauptthema verwendet und das Konzept weiterentwickelt, indem wir die abstoßendsten Formen der Grausamkeit untersucht haben, zu denen Menschen fähig sind – selbst wenn sie die Wissenschaft als Mittel einsetzen, um die Barbarei gegenüber ihren Feinden zu verlängern.“ Visuell setzt das Album die Zusammenarbeit von Phobocosm mit Lauri Laaksonen (Desolate Shrine, Convocation, Pestilent Hex) fort. „Auf den ersten Blick sieht man, dass es sich um ein Tor zu etwas Unheilvollem handelt, aber was dahinter liegt, bleibt dem Hörer überlassen.“ Phobocosm wird „Gateway“ mit ausgewählten Auftritten in Nordamerika unterstützen, gefolgt von Terminen in Europa im Jahr 2026.

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics